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	<title>Comments on: What if&#8230;? Gutai, Japan&#8217;s New York School</title>
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		<title>By: 16th &#8211; Gutai, a word to learn soon &#171; Atlas</title>
		<link>http://www.artcritical.com/2012/10/05/gutai/comment-page-1/#comment-21830</link>
		<dc:creator>16th &#8211; Gutai, a word to learn soon &#171; Atlas</dc:creator>
		<pubDate>Thu, 11 Oct 2012 10:59:02 +0000</pubDate>
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		<description>[...] comparison’s to Western abstraction are everywhere, so much so that one reviewer felt the need to write art historical fiction to explain all the possible paths of the Gutai artists.  Hoffman, Appel, Motherwell, Twombly and all the AbEx and Color field crowd relate to the first [...]</description>
		<content:encoded><![CDATA[<p>[...] comparison’s to Western abstraction are everywhere, so much so that one reviewer felt the need to write art historical fiction to explain all the possible paths of the Gutai artists.  Hoffman, Appel, Motherwell, Twombly and all the AbEx and Color field crowd relate to the first [...]</p>
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		<title>By: David Cohen</title>
		<link>http://www.artcritical.com/2012/10/05/gutai/comment-page-1/#comment-21673</link>
		<dc:creator>David Cohen</dc:creator>
		<pubDate>Fri, 05 Oct 2012 17:43:39 +0000</pubDate>
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		<description>At the press view for this fascinating exhibition I was very struck by the similarity between the work of Sadamasa Motonaga and Paul Jenkins.  When I voiced this thought to critic and collector Joshua Mack, who I hadn&#039;t realized is an authority on the subject, he informed me that Jenkins was actually an invited resident at the Gutai Pinacotheca in Osaka in 1964.  And B H Friedman reported to Mack that Guatai literature was among Pollock&#039;s unanswered mail at the time of his death in 1956.  The connections between Gutai and the New York School were substantial, beyond the 1958 show at the Martha Jackson Gallery, and the traffic may well have run in both directions.</description>
		<content:encoded><![CDATA[<p>At the press view for this fascinating exhibition I was very struck by the similarity between the work of Sadamasa Motonaga and Paul Jenkins.  When I voiced this thought to critic and collector Joshua Mack, who I hadn&#8217;t realized is an authority on the subject, he informed me that Jenkins was actually an invited resident at the Gutai Pinacotheca in Osaka in 1964.  And B H Friedman reported to Mack that Guatai literature was among Pollock&#8217;s unanswered mail at the time of his death in 1956.  The connections between Gutai and the New York School were substantial, beyond the 1958 show at the Martha Jackson Gallery, and the traffic may well have run in both directions.</p>
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